new book about working with MJ during HIStory

If you have been to Kingvention 2015 or read Iconic Magazine, you will know who Dan Beck is.
Dan Beck is a Music Executive, Creative Strategist, and Author from New York City.

With a career spanning over four decades in the music industry, Beck served as Senior Vice President of Marketing at Epic Records during the height of Michael Jackson’s career. He played a key role in shaping the marketing campaigns for Bad, Dangerous, and HIStory, and was instrumental in bringing Michael Jackson’s visionary concepts to life—both visually and globally. His close collaboration with Michael gave him rare insight into the artist’s creative process and the business dynamics behind some of pop culture’s most iconic moments.

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Dan is now releasing his memoir about working with Michael Jackson during the HIStory era. The book cover features a photo that fans may recognize—it’s a personal picture of Dan Beck and Michael on the set of the short film Scream, taken by Steven Whitsitt.

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“You’ve Got Michael” is the story of the high-stakes battle to save Michael Jackson’s career and market his 1995 greatest hits album, as told by the record company executive who was the closest to him. Rather than rehashing a controversial career, “You’ve Got Michael” goes behind the scenes to reveal the inner workings of the music business at its multi-platinum height.

From the frequent 2:00 a.m. phone calls to the runaway budgets of video shoots, the desperate efforts to get Michael to complete the new songs for the HIStory greatest hits collection to corporate damage control on a monumental career on the precipice of collapse, “You’ve Got Michael” offers a unique look into the workings of the record industry before the digital age and the details of working so closely with one of its biggest figures, a supreme talent hampered by naïveté and blind spots when it came to his behavior and image.

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Dan Beck writes, “I wish I could put Michael Jackson in some neat compartment of my brain. Some gray matter that could integrate the intrigue, the sense of responsibility, the exhaustion, the utter helplessness, the power, the joy, the dread, the embarrassment, the pride, the awe, the pity and, yes, the thrill of working with Michael Jackson.”

The book will be available on pre-sale now for a Discount paperback presale at $20 and fully available on October 15.

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As you might have guessed from our announcement of the release of the book You’ve Got Michael, Dan Beck will join the lineup of special guests for KV NYC: HIStory Begins, taking place in New York City on October 25, 2025.

With the recent release of his new memoir, You’ve Got Michael, Dan will share personal stories and insights from his time working with the King of Pop. Fans will also have the exclusive opportunity to purchase the book on site and have it personally signed by the author.

At KV NYC, Dan will take part in a live on-stage interview with Pez Jax, offering attendees a rare behind-the-scenes perspective on Michael Jackson’s artistry, challenges, and legacy during one of the most important chapters of his career.

KV NYC: HIStory Begins will be held in front of a live audience in New York and simultaneously live streamed worldwide, ensuring fans everywhere can be part of this unique celebration of Michael Jackson.

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Its Official! Kingvention is bringing an exciting special event to New York City on October 25, 2025.KV NYC: HIStory Begins will celebrate Michael's groundbreaking HIStory album in a special location with a strictly limited in-person capacity. And for the first time, this event will be available to join online via an access-only Live stream so you can hear the stories and join the discussions as they have them Stay Tuned for more details THIS WEEK.

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This book will be released soon, any book nerds out there interested in discussing it in depth chapter by chapter please PM me, would love to discuss it book club style on a PM thread.

I started this yesterday and I am getting through it very quickly. Good enough so far - some interesting bits so far. Im as far as the Superbowl so things are about to get messy.

I've read the first two chapters. I felt it had a bit of a slow start for me as there were a lot of names and behind the scenes info to take in. But I agree, there's some interesting bits.

Here's what stood out to me:

The description of Joe Jackson, of him sitting in a dark office being paranoid about security, and not discussing his son's when DB went to meet him about the Jackson's move to Epic records. The recount of Lisa Kramer (?) referring to seeing evil in JJ eyes. This made me think about Brook Shields feelings about JJ. Overall, JJ doesn't come across well, but I don't feel any explicit examples are given to warrant such a harsh opinion.

There isn't too much behind the scenes info on MJ, other than what we already know, that he was quiet, shy, curious, and at 17 was talking about writing and recording and wanting more creative freedom. There is a story about MJ requesting to visit an aviary and that he spent several hours just watching birds with little conversation.

There are a couple examples of the Jackson's being hounded by fans, DB recalls it with 'abject fear' but that it was the norm for the Jacksons.

DB mentions that it was a huge feat for Epic records to 'steal' the Jackson's from Motown, that they didn't think it would have been possible and puts it down to JJ business acumen in seeing the issues Motown had with large scale distribution.

Frank Dileo comes across very well so far. He crafted a mafia image for himself using the cigar and is described as a 'sensitive street guy with the warmest heart', other than that he was a big spender, I didn't feel any of the stories showed his warm heart. However, FD negotiated airplay for songs with 'The Network', who were a group of radio promo people, and no one got on the charts without them at the time. The higher a single went up the charts due to airplay, the more they charged, with fees ranging from $100,000-$150,000 for a top ten single. Apparently the front men on this 'Network' group had links to organised crime. Anyhow, FD got on well with them.

MJ understood the value of airplay and wanted to be on all different genre radio stations, and FD would introduce MJ to the people who mattered. It was FDs idea to have 2 songs on airplay at same time, and MJ loved that FD was willing to do what had never been done before. DB describes MJ and FD as an unstoppable force, and attributes the success of the release of the 7 singles from Thriller to them, which was unheard of at the time.

DB recounts when MJ asked FD to be his manager, FD was stunned as he had no experience of managing. DB comments on how it felt good to have FD as MJs manager as FD knew how to keep his client and the label happy, as he had come from the label world. Apparently before FD became manager, he met Elvis Presleys manager, Colonel Tom Parker who also limited access to EP, following this meeting FD decided that MJ shouldn't do interviews as he doesn't come across too well in them. FD was so right about this! I know MJ also wrote about not giving interviews in his manifesto, so I am curious as to whether FD was manager by that point.

The best part for me so far was reading about DBs own experience of watching the Billie Jean short film. They were all huddled around to watch it, it was the most expensive short film made at the time and they were very skeptical about whether the cost would be worth it. DB describes it as a 'moment in musical history', that they were all stunned, that the production value was far higher than any music video before, and the whole MJ aesthetic was mesmerising. They replayed it again and again and called others to see it. And DB described how MJ astounded everyone at the time, even those working at the label. How in the concerts MJs 'brothers seemed diminished amid his spectacular glow'. He described how at the label they were all like giddy fans when they watched the Motown performance. DB did a really good job of capturing the excitement MJ caused.

DB ends chapter 2 describing a party for Thriller held by the label, and how that party felt divisive as MJ was separated with all the celebs and important people, and DB describes the rest of them being left behind in the coach section, and says he didn't get to congratulate MJ or take any pics. He describes feeling like a bystander so the chapter ends on a sad note.

Its quite refreshing to read a book about MJ where the criticism is not personal, but sheerly about choices MJ made. I appreciate Dan's honesty throughout (so far). Currently at the release of Scream. It's also quite interesting in that it's almost exclusively about MJ's business/artistic decisions, and the author isn't making out that he was friends with him, nor does he go into any major detail about the music. it's really told from the view of someone who was there, had a job to do and telling what he saw. I've a few issues so far but nothing colossal.

It really pulls back the curtains on the lead up to HIStory, for better or worse.

So I read the next chapter. This was a harder read, as I was surprised to learn that MJs image issues were a real concern post Thriller.

DB mentions how MJ learned collaboration and hard work from his Motown years.

He charts MJs unprecedented achievements post Thriller, including how the Making of Thriller home video was an immense success in a non existent market. And how WATW helped bring the powerful element of social responsibility to MJs music.

Then the image issues start. One of the issues was concern over his soft voice, DB claims (as others have) that MJ did not naturally speak in a falsetto voice. This was a concern as it was considered too gentle for older youth and rock radio stations, although it was popular with younger fans. FD was particularly concerned about MJ staying relevant to teens and the male audience. Hence the image of Bad was created. I knew that Bad was an attempt to stay relevant with competition such as Prince/Madonna, but I didn't realise it came from a concern from how he sounded. Add to this, that MJ himself talked about how he used a higher speaking tone than was natural for him during the Thriller period in an attempt to hang onto his youth.


As MJ was already famous before Thriller, I can imagine that the attempt to toughen up his image might have come across as too disingenuous. Even so, the radio promoters were also concerned about MJs soft image, so the Bad image was formulated to appease quite a few groups to ensure automatic radio airplay.

Interestingly, Bad was going to be called SC, but QJ did not want his black artist to have such negative connotations in the album title.

Leading upto the release of Bad, the negative tabloid coverage also began. The rumours about the elephant man bones and the hyperbaric chamber helped to culminate an image of MJ as strange and wierd, and this was the angle gossip columns and late night comedians took. DB confirms that they were suspicious that it came from FD and MJ, but doesn't confirm this to be the truth.

The other issue was MJs changing appearance, in particular his nose. DB reveals that MJ would request for the 'wings' on his nose to be airbrushed on pictures post Thriller as he was reminded of his father when he looked in the mirror. DB says the people working at the label also viewed MJ as strange and weird. I had no idea that all these views were floating about this early in his career.

The last issue was MJs sexuality. This is the part that left me feeling uncomfortable. DB recounts the experience of Larry Stessel (?) who talks about when he discussed women with MJ, and how MJ had a dismissive attitude towards Brooke Shields, Tatum O Neil, Jane Fonda (???), and TWYMMF girl. He also says that MJ was not religious, and that he was a JW to please his mother. Then he went on to say he didn't want to believe MJ was gay. Neither his anecdote or DB commentary resolves that sentence, I felt it insinuates that MJ was gay and as it's not resolved then that becomes the remaining conclusion. I felt very confused reading Larry Stessel comments.

Another recount from Larry Stessel concerns how MJ could laugh at himself. Apparently for the cancelled Decade album, LS suggested the 4 album CDs have artwork showing four different MJ noses, MJ apparently laughed hard at this. I didn't get a deeper understanding of MJ from this chapter either, but I did sense how much pressure MJ was under simply for his persona, essentially for being him, everyone had a problem with it. To have every aspect of yourself dissected like that must have been difficult for someone as excruciatingly private and shy as MJ.

DB then directly goes on to recount a party at Encino after a Bad listening party. He mentions how lovely Katherine Jackson was and looks back fondly on the experience.

DB ends the chapter recalling Bad sales figures, it sold 5 million copies in the US, and this was seen as a failure. I think most of MJ fans can agree that the Bad album was great, so it's surprising that it didn't do better. DB comments that a return to normal sales figures was an unfair way to perceive Bad figures as a failure.

Overall, I was really surprised that all the negative coverage of MJs appearance, eccentricities, and sexuality had started even before Bad. And sadly, those very issues still plague the perception of him today.

So the next chapter also felt like an uncomfortable read.

DB describes how the label were treating MJ as someone who needed career damage control after Bad, and they were keen for him to release the next album before more bad news coverage started. And MJ was no longer viewed by the label as the biggest selling artist in the world. I was surprised to read this, as even if Bad did not do too well in the US, it still had a global reach.

DB says MJ did not show any insecurities about any of this but did go on to change managers to Sandy Gallin, he describes Gallin as a suave business man. He mentions how MJ chose him for his connections to the film world as MJ wanted to make movies.

Then DB gives another recount from Larry Stessel about the King of Pop title. Apparently MJ chose the title after Elizabeth Taylor used it, and he discussed the title with LS, who said he would think about it and felt MJ couldn't give himself a title, that a title had to be given by others. In the meantime time the title appeared on the newspapers, and it's insinuated MJ was the cause of that. The head of the label was upset at this and they all laughed at the title, but eventually it stuck. I've never really understood the fuss over this title, Muhammed Ali went around calling himself great all the time and the world found it endearing, but god forbid that MJ should acknowledge his immense and unparalleled fame and success.

According to DB, Sandy Gallin then decided to use the title in every promo opportunity, and insisted that radio and video people use the title. The label fought hard against this as they felt MJ had enough image issues and the title would be received badly by promo people. They also argued that 'pop' had insignificant meaning compared to 'rock'/'soul'. DB suggests SG was onboard with their criticism and concludes they felt MJ was driving all this while also saying he never heard MJ use that title. Additionally he says he does not recall this issue being addressed with MJ directly.

DB comments how he felt there was resentment building from label and promo people that MJ was making their jobs harder by using this title. He concludes the chapter by confirming that all their fears regarding the title turned out to be valid but based around the pressures at the time, and that in the long run MJ was the King of Pop.

DB is leaning quite heavily on stories from this LS character. And the fact that they all felt the title was laughable made me feel uneasy. I appreciate that DB does now recognise MJ as the King of Pop, but if the label had their way MJ would have had no title, and their criticisms felt dismissive rather than constructive. MJ comes across as very ego driven in this chapter.

Chapter 5 was about where DB was in his career by 1991.

He charts his career working for Epic Marketing and lists his famous clients. However, by this point in his career he felt dissatisfied and that he'd reached a plateau in his career after being passed over for promotions, and he expresses his hurt over this.

DB was then assigned to a Christian/Gospel label that Epic were promoting, and although he found this work much more satisfying, he felt even more marginalized professionally.

Against this backdrop a colleague steps into the doorway of his office and informs DB 'you've got Michael' and then leaves.

I was surprised that the label had chosen someone they were marginalising to take responsibility for MJ, but maybe this was indicative of their attitude towards MJs career.

Chapter 6 is about DB entering the fringes of MJs world, and again I was left feeling uncomfortable by the end of it.

DB expresses his confusion at being connected to MJ, and explains that Larry Stessel who was responsible for MJ had been transferred to the international company. He refers to the word 'politics' but gives no explanation for this with regards to LS. Interestingly, he also states that he 'knew better than to seek Larry's advice' when it came to working with MJ. Again, no further explanations are provided to clarify any of this, and one is left to conclude that LS may be an untrustworthy or at least a shady character. I don't like how DB leaves things open ended like this, he leaves a vacuum for assumptions.

DB describes the daunting enormity of being responsible for MJ feeling akin to looking at mount Everest from the base. He describes how most superstars had small teams that were easy to access and engage with. In comparison, MJ had a maze of teams built around him making access to the right person difficult. In listing off the teams, he mentions that as MJ was his own CEO, he had a 'disregard for cost that was legendary'.

DB mentions his admiration for MJ, for working hard and building on his talent in every direction possible. He also recognised that MJ had blind spots, but at that time DB says he felt he could overcome them by bringing the focus on MJs enormous talent.

He goes on to recount his first experience trying to penetrate MJs maze of teams. LS had done most of the set up for the Dangerous album before he left, and DB needed a photo for the cover of RTT single. He called Sandy Gallins office, and didn't receive a call back. He expresses his disappointment at being disregarded by SG. He rang the office again and was informed by the secretary to call MJs Assistant. He called MJs Assistant and was told to contact this Assistants own Assistant. This last Assistant told DB about a Pepsi promo shoot MJ was doing with Sam Emerson, MJs photographer. DB knew SE and was relieved to have a familiar face on the MJ team to work with.

Then DB describes walking into a small studio for this promo shoot, the studio was set up as a living room with a grand piano. He says he saw MJ dressed stylishly in black, and that he seemed tall and glided as he appeared to be directing the set in a coach like manner, and seemed to be enjoying himself. At the piano was a child wearing an afro wig and the song IBT was the backdrop. He witnessed a couple of celebs drop by. DB met with SE and got the photos/info he needed, but as SE was busy and there was no one to connect DB to MJ, DB left without meeting MJ.

SG then arranges to meet DB at his office, during the meeting SG gets a manicure. SG asks about the promo shoot and whether MJ arrived on time. DB gives positive feedback but then adds something. He informs SG that he found it strange that the child actor with the afro playing a young MJ is a white child. SG apparently 'silently' laughs (oxymoron?) at this for 3 straight mins ( DB was timing someone's laugh??). SG then calls someone on the phone, relates this and laughs some more with the person on the phone. DB ends the chapter stating in brackets that he never saw a completed version of that Pepsi promo shoot.

This last part made me very uncomfortable. In his story telling, DB leaves stones unturned. The reader is given no information as to why there was a white child playing a young MJ, as he suggested MJ appeared to be directing it then the reader is left to conclude that MJ may have had some decision in this. Also as SG was oblivious of it, it eliminates his involvement. And by ending the chapter by claiming he never personally saw the product of the promo he criticises, he absolves himself of clearing up this narrative. Additionally, I find it hard to believe DB who was responsible for MJ at this point chose to remain oblivious about what MJ was putting out at this time. And if DB didn't see it at the time, a simple YouTube search would have brought it up now. I felt it was very sloppy of DB to allude that MJ was happy/didn't have a problem a white kid was playing him when we all know the outcome of that promo was different.

And this is the second time there are people laughing at MJ. In the vacuum DB creates in his story telling, MJ doesn't come across well as the reader isn't given enough information to gather alternative conclusions.

Should I continue relaying the chapters?
I'm aware I am hogging the thread.

jasmine.uddin said:

Should I continue relaying the chapters?

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Yes please!

jasmine.uddin said:

[...] Should I continue relaying the chapters? I'm aware I am hogging the thread.

Click to expand...

Please do

I'm still waiting for this thing to turn up in UK bookshops so this is very helpful. I would take issue with DB claiming that the negative press began in the run-up to the release of Bad. It was already happening in the Thriller era (some would argue even earlier than that) but it definitely became much more intense in the pre-Bad era.

So far it's a depressing but revealing insight into the workings of the music industry.

This book isnt leaving me uncomfortable tbh, its interesting to read from someones point of view who was "there" but not in the immediate circle. He makes some claims that I outright don't believe, but that's the same with every MJ book I've ever read. Dan especially makes 1 bold claim later in the book.

You need to remember that Dan is telling from the perspective of the normal Joe Soap, which is what I appreciate. It's not an entirely flattering book for Michael (business wise, Dan has yet to indicate that he thought MJ was guilty of improper conduct) but in the lead up to HIStory especially I was not expecting one.

There are definitely people on this forum that will have issues with this book and want Dan executed on the spot.

I'm really enjoying your summary!

jasmine.uddin said:

The head of the label was upset at this and they all laughed at the title, but eventually it stuck. I've never really understood the fuss over this title, Muhammed Ali went around calling himself great all the time and the world found it endearing

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Really, the whole title thing was one of the worst decisions of MJ's career. It definitely makes him look very ego driven. It makes me cringe whenever I hear it, and I can't take anybody seriously who uses it.

As for Ali - the situation is very different. Boxing is literally a competitive sport with winners and losers, whereas music is not. There is no such thing as "the greatest musician" or "the best song ever", so it's silly to claim so.

Not only that, but Ali was using it in a psychological way, to intimidate opponents (Tyson did the same). It's just fight talk to promote an event. Ali admitted later in life that it was all nonsense.

jasmine.uddin said:

Should I continue relaying the chapters?

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Yes please. You're doing a great job at providing insight.

Thanks for sharing @innuendo141, it's always interesting to hear different perspectives. It would be lovely to hear from others who get round to reading the book.

I just want to clarify that I am not a MJ fan that has any issues criticising MJ where I feel there are valid reasons, but so far I feel really sorry for him. The ending of chapter 7 made me feel sad for him.

Chapter 7 is about the release of the Dangerous short films.

DB recalls how everyone at the label was excited about the release of BOW, he describes it as MJ doing what he does best, and the ending part as MJ overdoing it. LS comes up again and is quoted as saying the video is just MJ taking a sledgehammer to a car. Some at the label rolled eyes at the ending and others shrugged. Again, it is insinuated that the ending part of BOW was MJ driven and included to appease him. And there were concerns about the complaints regarding the portrayal of sex (crotch grab) and violence.

BOW appealed to mainstream audiences and RTT was set to appeal to black audiences, with it's all black cast. DB takes a moment to recognise that MJ had added pressure to break ground as a black artist as well as recognise and appease black media. DB writes how mainstream networks were where the big and easy money was, but there was always pressure from black networks/mags/radio stations for access to exclusives. DB points out that it was the latter that were more loyal to MJ in the end. To make this point he includes two mag covers, one positive one from Jet mag about MJ and Brooke Shields friendship, and one negative one from People mag which stated 'is this guy weird or what?'. It does make for a noticeable stark contrast, but one is from Thriller era and one is from Bad era.

DB explains that there were never enough exclusive MJ pictures to satisfy that high demand, therefore video shoots such as RTT provided opportunities for exclusives for media people. He also states that the issue was not that MJ wouldn't take enough photo's, and that he generally was more than willing.

The label staff held a viewing party for RTT short film and everyone was happy till they saw the kiss at the end. Apparently the criticism was that MJ looked stiff, scared, awkward and the kiss was effeminate. The label people wanted it reshot and the film company people made some edits but didn't see any real issues with the kiss. The complaints were all from the promo people at the label, and MJ was never consulted on the matter.

When RTT was released the kiss wasn't the issue the label had made it to be. DB states SG had Imaan comment on MJs kiss as a preventative measure in an interview and then accuses SG of overreacting. Then he accused them all of overreacting to every slight MJ made including himself, he used the term 'helicopter parenting'. He ends the chapter with some foreboding, that they all knew the MJ story would not end well, and they were trying to control the chaos while they could.

I'm seeing a pattern in each chapter, they begin with some interesting details from the time period and then there's always a twist at the end that leaves a bitter aftertaste.

This chapter broke my heart for MJ. I appreciate that DB had the self awareness to realise they were all micro managing MJ to death, he wasn't allowed to make a mistake or step a toe out of line. They were quick to turn every molehill into a mountain. I feel that because of his super human talent, he was upheld to super human standards. This was in such stark contrast to how other musicians behaved. He couldn't even kiss right for their standards. This also reminded me how MJs kiss with LMP received negative comments. I think there was nothing wrong with either kisses, and I think theres a disproportionate interest in mocking them. According to these promo people MJ talked wrong, he looked wrong, he didn't look heterosexual enough for them and now he kisses wrong too. All I see is a group of people intent on stripping a man of his manhood to appease their own overt paranoia.

I was also skeptical when DB referred to the sense of doom around MJ. I highly doubt anyone could have predicted what was to come, I don't see how there were any concerns about doom for MJ in 1991. I could be wrong though. DB does do a good job of giving MJ credit where credit is due.

That's all folks, I'll post some more tomorrow.

jasmine.uddin said:

Thanks for sharing @innuendo141, it's always interesting to hear different perspectives. It would be lovely to hear from others who get round to reading the book.

I just want to clarify that I am not a MJ fan that has any issues criticising MJ where I feel there are valid reasons, but so far I feel really sorry for him. The ending of chapter 7 made me feel sad for him.

Chapter 7 is about the release of the Dangerous short films.

DB recalls how everyone at the label was excited about the release of BOW, he describes it as MJ doing what he does best, and the ending part as MJ overdoing it. LS comes up again and is quoted as saying the video is just MJ taking a sledgehammer to a car. Some at the label rolled eyes at the ending and others shrugged. Again, it is insinuated that the ending part of BOW was MJ driven and included to appease him. And there were concerns about the complaints regarding the portrayal of sex (crotch grab) and violence.

BOW appealed to mainstream audiences and RTT was set to appeal to black audiences, with it's all black cast. DB takes a moment to recognise that MJ had added pressure to break ground as a black artist as well as recognise and appease black media. DB writes how mainstream networks were where the big and easy money was, but there was always pressure from black networks/mags/radio stations for access to exclusives. DB points out that it was the latter that were more loyal to MJ in the end. To make this point he includes two mag covers, one positive one from Jet mag about MJ and Brooke Shields friendship, and one negative one from People mag which stated 'is this guy weird or what?'. It does make for a noticeable stark contrast, but one is from Thriller era and one is from Bad era.

DB explains that there were never enough exclusive MJ pictures to satisfy that high demand, therefore video shoots such as RTT provided opportunities for exclusives for media people. He also states that the issue was not that MJ wouldn't take enough photo's, and that he generally was more than willing.

The label staff held a viewing party for RTT short film and everyone was happy till they saw the kiss at the end. Apparently the criticism was that MJ looked stiff, scared, awkward and the kiss was effeminate. The label people wanted it reshot and the film company people made some edits but didn't see any real issues with the kiss. The complaints were all from the promo people at the label, and MJ was never consulted on the matter.

When RTT was released the kiss wasn't the issue the label had made it to be. DB states SG had Imaan comment on MJs kiss as a preventative measure in an interview and then accuses SG of overreacting. Then he accused them all of overreacting to every slight MJ made including himself, he used the term 'helicopter parenting'. He ends the chapter with some foreboding, that they all knew the MJ story would not end well, and they were trying to control the chaos while they could.

I'm seeing a pattern in each chapter, they begin with some interesting details from the time period and then there's always a twist at the end that leaves a bitter aftertaste.

This chapter broke my heart for MJ. I appreciate that DB had the self awareness to realise they were all micro managing MJ to death, he wasn't allowed to make a mistake or step a toe out of line. They were quick to turn every molehill into a mountain. I feel that because of his super human talent, he was upheld to super human standards. This was in such stark contrast to how other musicians behaved. He couldn't even kiss right for their standards. This also reminded me how MJs kiss with LMP received negative comments. I think there was nothing wrong with either kisses, and I think theres a disproportionate interest in mocking them. According to these promo people MJ talked wrong, he looked wrong, he didn't look heterosexual enough for them and now he kisses wrong too. All I see is a group of people intent on stripping a man of his manhood to appease their own overt paranoia.

I was also skeptical when DB referred to the sense of doom around MJ. I highly doubt anyone could have predicted what was to come, I don't see how there were any concerns about doom for MJ in 1991. I could be wrong though. DB does do a good job of giving MJ credit where credit is due.

That's all folks, I'll post some more tomorrow.

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I was glad to read that the video was delayed because MJ continuously wanted more content - so this goes against any argument that he did not have input in X releases - well, this one at least.

Edit - Finished. As Jasmine is actively posting, I will leave the spoilers to her.

I will say that a lot of it was interesting. Dan is a pure marketing person, you can tell if you have ever worked with them. He does not put MJ on a pedestal here, nor does he throw him for the gallows. While he does acknowledge that he may not have remembered everything correctly or may have forgotten things, there are a few things I'd find very surprising that he'd forget if he was around at the time of X.

It really does confirm some things I had considered about the behind of the scenes of the Dangerous/HIStory years, both positive and negative. At worst, he makes MJ comes across as very difficult at times which we all know was true from many other people over the years.

Enjoyable, but nothing earth shattering. You could tell Dan wasn't there for the music - and that wasn't his job. But, it's cool to hear from someone who's interests and expectations of MJ were purely to do with work and getting a job done. Dan at no point comes across as bitter or nasty to MJ. He writes impartially about whatever may have happened with regards to his personal life, but he holds MJ and his time working for/with him in high regard, albeit highly stressful and taxing.